General The Process of Editing DSLR Footage

I've been editing dslr t2i 720 footage with no problem, even with 1080 files. I am on pc my minimal systems a quad core i5 with 18gb ram and 3 1T hard drive. I also got two i7 machines they all performed fast and can preview without an issue with cs5.5 or cs6. I'm curious if I may be able to get a section of your clip to see if it lags on my machines?

As for highest quality for YouTube or video, I export either h264 or h264 bluray.
 
Blurays are either H.264 or VC-1 (which is very similar to H.264, but probably more difficult to generate). You can export H.264 directly out of Premiere, and I guess that's top quality. The alternative is to export uncompressed and then use some other tool to create the H.264 stream. For Vimeo and Youtube, you don't need to go that far, I do this: http://www.dvxuser.com/V6/showthread.php?281350-MOV-gamma-shift-how-do-you-deal-with-it And for theaters, you can use the Bluray, or you can go the whole way and create a Digital Cinema Package, which is a stream of high quality stills packed in a very specific way: http://en.wikipedia.org/wiki/Digital_Cinema_Package http://nofilmschool.com/2012/07/pro...igital-cinema-package-for-cheap-with-opendcp/
 
Samuel H,

Thanks a lot for all the information given here. You are very resourceful on this forum for people like me.

Thanks to all also for contributing and discussing professionally.
 
Still looking at samples of the Flaat, and its just not my style. Even graded, it looks very flat. I'm sure the same probably goes with cinestyle or other picture styles that look that flat as they all look very similar before grading.

The first thing that comes to my head when I see that kind of footage is 'Oh, it was shot on a DSLR' because it looks that flat. It seems that if you shoot that flat, especially when you are shooting outside, its harder to grade it to look natural and real as it was actually captured from what we see through our eyes. But instead its washed out and unsaturated, even if grading/colour correction WAS applied.

I believe sticking to neutral will be my best bet. Its not as flat, which is okay, but at least the image wont be sacrificed by having mid-dark greys instead of blacks. And no life in the colours. Sometimes it MAY look good, but most of the time I've seen it, it looks like crap. Its not something I can picture being seen on the big screen. And that's the look I want to achieve. To look realistic. Not grey gloomy weather even if its sunny.
 
Make your own tests before you make your mind, and check the other presets as well: "no life in the colours" is half the reason I created Flaat (with Prolost Flat -which is what I see you intend to use- or Marvels Cine, I always ended up with grey, clay-looking people).

Gary Huff said:
Don't forget MPEG2 as well. That's still around and kicking.
Click to expand...
I didn't even know they made MPEG2 blurays, most of the ones I have are H.264, the rest VC-1

kicap said:
Samuel H, (...) Thanks to all also for contributing and discussing professionally.
Click to expand...
Thanks a lot for the very kind words. Glad I fooled you: I'm not a pro, just an amateur (i.e. I shoot and learn for fun, I earn my living doing something completely unrelated).
 
DDirector said:
Thanks for the DCP. I'll definitely end up using that if that's how theatres will be operating. :)
Click to expand...

DCP would be what you'd want if you knew you were going to be shown on theater projection system.

I've only 'fooled' around with an opensource DCP generation tool, so I can't really say I've gone the whole mile, but I would think that Apple Pro Res 422 HQ (or Avid DNxHD...) would be your output from Premiere to the use for generating the DCP output. DCP is based on JPEG2000 and I think there is a JPEG2000 output option from Premiere... but I have clue how good it may be... or how that flows into the DCP output package.

For ordinary Blueray distribution, The Main Concept encoder that the Adobe Media Encoder uses, seems to generated 'quality' output. The Quicktime H.264 generators all have been 'panned' by various folks...

In any case, for HD output at 1080p a bit rate of no less than 20Mbits/s is essential, and I'd probably not go over 30Mbs/s for 'home written' media. 20Mbs/s is the bitrate that broadcast HD, using ATSC, targets, and so I think it sets the 'lower bound'.

Sure, youtube and Vimeo have a lower bitrate for 1080p HD... but I think that's where you may see some of that 'blockiness'...

The reason why I've come to the 'Canon' section is I'm a director on a short film and the camera we are using is a 5DMKIII, so I'm looking to how to best use the footage from that camera...

One issue that comes into play on the 'aesthetics' side, is the issue that current DSLR cameras are essentially 8 bit video devices(*). And as such, areas of continuous gradation, will potentially have 'banding' no matter what. This also affects other parts of the image, such as edges, where most humans determine the perception of 'sharpness'.

Slight sharpening on the final output will help in that regard, but the gradient banding is still there (and could be more problematic with 'sharpening'...).


*Often there is only mention of the 'still' bit depth in 'raw' mode...
 
Banding is an issue on the MK2 for sure. As soon as you start to push the footage very far it will pop up on walls and other areas. It's a huge issue if you try to use a flat profile for a high contrast saturated final look. When I know I'm going to contrast the final image up a good bit I generally shoot neutral instead of a flat profile.
 
sewolla said:
Well yeah but my experience with Premiere CS5.5 and editing the DSLR footage from the 60D ain't at all a happy one-you cannot do it! Or more correctly, I cannot do it...
Click to expand...
Something is very wrong with your system setup; don't blame it on CS5.5.
 
You must log in or register to reply here.
Back
Top